Shattered
by Jordietheshortie
Summary: Twenty years after the season 4 finale, the girls are living life in Rosewood peacefully- including Alison. Each girl has their own battle scars and demons to fight and their children are not any different. When Alison starts to receive threatening messages again, it puts the Liars at risk especially for their kids, making them easy targets. A is back, and the game has changed.
1. Episode 1 Act One

_**Hello everybody, and welcome to my story. Just a fair warning before you read on that this will contain some swearing. Also, I'm not sure if you're able to tell by the oncoming script format that I'm a screenwriter. I am attending University for it and it is what I plan on doing for a living. I know scripts aren't exactly 'allowed' on here but seriously, screenwriting is a form of writing and if you ask me that's discrimination against writing for not allowing screenplays on here. I really hope you enjoy this story and have an open mind to the format. I had this up here a while ago but this is now rewritten. Feedback on the storyline and characters and anything else would be appreciated! Most of my chapters will be long, averaging out at 3000 words per chapter. **_

PRETTY LITTLE LIARS

**Teaser **

_"A is for Alison"_

EXT. FOREST - NIGHT

We're in the middle of a forest that is lit by the light of a full moon. We see a girl, no older than seventeen, running through the forest. This girl is EMMA FITZ (17). Emma has a flare for dressing provocatively and it shows with what she's wearing. Emma is breathing heavy and looks over her SHOULDER as if something is CHASING her. Nothing is there.

EMMA  
No.

She keeps on running and we can see through the trees that she is about to stumble upon a highway. POINT OF VIEW shot of the person who's following her; sneaking up behind and suddenly, grabbing her from the back. We now see a BLACK HOODED FIGURE has grabbed her, and is wrestling her to the ground. Emma KICKS and SCREAMS.

EMMA  
Put me down! Put me down!

The Black Hooded Figure practically DRAGS Emma through the small stretch of bush and soon, they're on the edge of the highway. Emma is still fighting, clawing, kicking, anything she can do to get away. But, this Black Hooded Figure has a good grip on her and brings out a silver shinny pocket knife. Emma is SCARED out of her mind. The Black Hooded Figure begins to press the blade deep into the flesh on her arm and we can see the blood pool out of her and onto the skin on her legs. She looks at the Black Hooded Figure, more closely

We don't get to see much, but we see on Emma's face that she KNOWS WHO IT IS. That's when the Black Hooded Figure takes their chance at her hesitation and PUSHES her out onto the highway. We watch as her body COLLIDES with a car going at least fifty miles an hour. The car peels away. Her body hits the ground, mangled and bloody. She looks almost dead but we can see her chest still rising up and down. We see the Black Hooded Figure walk over and with their black boots they lightly nudge her in the stomach; to them she's as good as dead. They flee back into the bushes, engulfed by the night.

* * *

ACT ONE

INT. FITZ HOUSE - DAY

A CHIRON tells us **"Six Months Later".**

We're in a room, a teenager's room that's littered with clothing on the floor and dishes on the dresser and desk. MAXINE "MAX" FITZ (16) sits on the end of her bed, holding a picture of Emma (the girl we saw get hit by the car) and her.

ARIA (O.S.)  
Knock, knock?

Aria Fitz (37) is standing underneath the door frame; she doesn't actually knock.

Max gives a heavy sigh and in a 'ugh' kind of tone says:

MAX  
Come in.

Aria walks in and takes a seat next to her daughter. She looks at the picture Max is holding. A wave of PAIN and SADNESS washes over her face.

ARIA  
How long have you been staring at that?

MAX  
I don't know.

Aria looks around the room at the clothes and the dirty dishes. Clearly, Max doesn't get out of the house a lot.

ARIA  
This place could use a real cleaning up.  
I'll get the laundry basket and you can get the bin for the dishes.

MAX  
Mom... have you ever wondered what it would  
have been like if... if Emma wasn't the person she was?

ARIA  
What do you mean?

MAX  
What if she wasn't such a party slut? What if she  
wasn't the bitch she turned out to be? What if... for once and for all she  
was just a normal girl. Just my normal big sister, Emma Fitz?

ARIA  
Max I don't ever want to hear you talk about your sister that way again!  
Emma was -is- your big sister and I don't want to hear anymore about it.

Aria EXITS the room.

INT. HALLWAY - CONTINUOUS

Aria shuts the door to Max's room. She looks up on the wall to see a picture of Emma, smiling down on her, a beam on sunlight hitting it from the window. Seeing this brings up something inside of her, something she didn't want to revisit. She slides down the wall, tears streaming down her face.

FLASHCUTS: Fitz house, night. Two police officers come up the pathway to her house and knock on the door.

FLASHCUTS: Emma is lying on the bed in the hospital on life support, the cuts and bruises still very very fresh.

DOCTOR  
Your daughter is in a coma.

Aria COLLAPSES and begins to WEEP in Ezra's arms, Max staring at them from behind.

INT. HALLWAY - PRESENT

Aria's phone begins to beep. It's a text and it's from Hanna.

CLOSE ON TEXT: **"I'm at the 'shop', meet me there?"**

Aria texts back: CLOSE ON TEXT: **"I'll be there in a few. Should I bring Max?"**

Hanna's text comes almost instantly: **"No, come alone."**

CUT TO:

INT. ALI'S SHOP - DAY

A nice little cafe in the heart of Rosewood sits on the corner, all by itself. Inside the shop there are tables, chairs, and sofas for relaxation. It's almost a mix of a bar and a family restaurant. Beyond the shop and THROUGH another door we see: Alison DiLaurentis pacing back and forth. This room is more like an apartment with a murphy bed hanging down from the wall and a small kitchen off to the side. Hanna Marin sits on a bar stool behind her, looking FRUSTERATED at her friend. Boxes upon boxes surround them. We can clearly see that Alison is getting impatient.

ALISON  
Where are they?

HANNA  
I'm sure they'll be here any minute, Aria's on her way.

ALISON  
Well she better hurry.

HANNA  
Ali, what's the rush? You've been here for  
twenty years and no one has found you.

ALISON  
Twenty years too long. Hiding in plain sight  
is no longer of use to me.

Emily Fields walks into the room sporting skin tight yoga pants and a matching skin tight work out tank top.

EMILY  
(to Hanna)  
I got your text.  
(to Alison)  
Is everything okay? I was on my way to the gym.

Spencer Cavanaugh walks into the room dressed fancyish as if she's going to a dinner theatre performance in the city. She's sophisticated, looks like she could almost come from money.

SPENCER  
Jeez guys, what's the emergency?  
I was on my way to Hunter's fundraising  
event for his soccer team.

Aria enters, looking like shit compared to the rest of them.

ARIA  
(to Spencer)  
We all have somewhere we'd rather be.

Beat.

A guilty look from Spencer - they all know where Aria would rather be.

ARIA (cont'd)  
What's the situation Ali?  
And why is all of your stuff in boxes?

ALISON  
Someone found me.

ALL FOUR GIRLS  
What?

Alison takes out a PICTURE from her pocket. The picture is of her, entering the shop. She FLIPS it over and on the back we can see in scribbled red writing: **"Alison DiLaurentis: Loser, at hide and seek. I've seeked you bitch, now you have to find me. -A"**

ALISON  
I thought this was over. After that night, the night that  
Ezra was shot and the messages stopped...  
I thought it was all done! I thought I would  
be able to live life in peace.

EMILY  
We'll help you get through this but please, Alison don't leave.

ALISON  
Staying isn't an option anymore, Emily. It's a death wish.

SPENCER  
Ali we'll get down to the bottom of this.  
But right now, try not to freak out okay?  
You've been here for twenty years, this is your home.

ALISON  
Spencer I can't ignore this! Last time I did I was nailed in the back of the  
head with a rock from my own garden!  
I am not treating this like a school note. This is real.

HANNA  
(to Alison)  
So what do you propose we do?

ALISON  
I'm leaving tonight and I think you all should be too, just to be safe.

EMILY  
I haven't been receiving any message, why should I leave?

SPENCER  
I can't just ask my kids to pick up their lives and leave;  
Rosewood is all they've ever known.

HANNA  
Yeah and I can't just ask Maddie to ditch school...  
her grades are slipping tremendously.

ARIA  
I'm not going to leave my comatous daughter,  
I'm staying here.

ALISON  
You'll all start to receive messages,  
it's only a matter of time.

SPENCER  
You're not seriously suggesting that A is back, are you?

ALISON  
Times have changed Spencer, and so has the game.

CUT TO:

INT. MARIN HOUSE - NIGHT

Hanna and MADDIE MARIN (18) sit at the kitchen table eating dinner and watching TV. Maddie looks nothing like Hanna. No blonde hair, no interest in makeup, nothing. A NEWS REPORTER comes up on the TV screen.

REPORTER  
In California today a beach riot broke out injuring at least a  
dozen people and killing one. Over to Brent Rockman for the full report.

MADDIE  
God, the news is so damn depressing.

Maddie is PLAYING with her food, obviously something is wrong.

HANNA  
Maddie, is there something you want to talk about?

Beat.

MADDIE  
I got suspended from school today.

Hanna looks SHOCKED. She doesn't know what to say. She doesn't get it... what could Maddie have possibly done to get suspended?

MADDIE (cont'd)  
Look, before you freak out and start yelling at me  
I am not the one who lit the match.

HANNA  
You lit something on fire!?

MADDIE  
It was a small fire and I didn't  
light the match... Charlie did.

Hanna is more SHOCKED than she is when Maddie first told her she was suspended.

HANNA  
Charlie? As in Charlie Fields?

CUT TO:

INT. FIELDS HOUSE - NIGHT - CONTINUOUS

Emily and CHARLOTTE "CHARLIE" FIELDS (18) sit at their own table having the same discussion Hanna and Maddie were having. Emily it OUTRAGED, even more so than Hanna.

EMILY  
Charlie, what the hell were you thinking?  
You know what... you weren't. You weren't thinking at all!

CHARLIE  
Oh come on Mom, it was a small fire in a small locker.  
I wasn't even the one who planned it.

EMILY  
Then who did?

INT. MARIN HOUSE - CONTINUOUS

Hanna and Maddie are still having the same argument. Hanna is still very pissed off.

HANNA  
You planned it?

MADDIE  
The girl is a total bitch! She deserved what was coming to her!

HANNA  
Maddie, I don't care who that total bitch was.  
Nobody deserves that. Trust me, that will come back and haunt you.

INT. FIELDS HOUSE - CONTINUOUS

EMILY  
Charlie, that will stay with you for the rest of your life.  
Was that girl really that much of a bitch?

Charlie looks as if she's about to cry, and not because Emily is yelling at her.

CHARLIE  
Mom... that bitch slept with Tommy!  
She slept with my fucking boyfriend! I could have done something much worse.  
Maddie and are suspended for two weeks.

EMILY  
Two weeks for one lousy fire?

Charlie shrinks back in her seat... Oh shit, what is she going to say now?

CHARLIE  
It wasn't just the locker we set on fire...

INT. MARIN HOUSE - CONTINUOUS

MADDIE  
She's in the hospital right now.  
They said it's only second degree burns.

HANNA  
You gave a girl second degree burns  
because she slept with Charlie's boyfriend?

MADDIE  
Hey, we didn't give it to her! It's her own damn  
fault for trying to pull her schoolwork out of her locker.  
Damn bitch is all about the academics but she's also the school slut.

HANNA  
Wait, are we talking about who I think we're talking about?

INT. HOSPITAL ROOM - NIGHT

MIA CAVANAUGH (17) sits on the hospital bed, her burns being wrapped by a DOCTOR. Spencer comes running into the room still dressed as if she's going to go to Hunter's charity event, but keeps getting pulled away.

SPENCER  
Oh my god, Mia are you okay?

MIA  
The doc says I'm going to be fine. Physically, that is.

DOCTOR  
You'll experience a bit of pain, a really itchy rash and scab  
and maybe a bit of puss once it's beginning to heal.  
Come back in three weeks.

The DOCTOR exits the room.

SPENCER  
The school phoned and told me what happened.  
What were you thinking going into your locker like that?

Mia looks UNCOMFORTABLE at this.

MIA  
(unconvincing)  
My homework was in there.

SPENCER  
Okay, even when I was seventeen I wouldn't have gone in for my homework.  
I'm going to call Maddie and Charlie's mothers.  
Don't worry, I'll make sure Emily and Hanna give them punishment.

Mia and Spencer HUG. Mia pulls away quickly and looks away.

MIA  
I gotta go to the bathroom, I'll meet you out in the car?

Spencer leans in and kisses Mia's forehead.

SPENCER  
Sure thing. And then we have to go to your brother's charity event,  
I can't delay it any longer. I'm so glad you're okay,  
it really got me worried with all that's happened with Emma...

MIA  
Mom! I'm fine, I'll meet you out in the car!

Spencer EXITS the room, leaving Mia alone with herself. From her jeans pocket she takes out a NOTE. It's half burned, half blackened by the smoke.

CLOSE UP ON NOTE: **"Mia, Mia, Mia... Do you know what that also stands for? Missing in action. That's what you'll be if you're caught with lover boy again."**

What the hell? Why didn't Mia let that burn? She stuffs it back in her pocket and EXITS the room.

INT. HOPSITAL HALLWAY - CONTINUOUS

Mia goes past open doors and closed doors and she comes across one open door. Beeping can be heard from inside and when she peers in, she sees Emma on the bed, motionless, the machines breathing for her. She wanders in, just to look at her old friend. She stands by her bed, looking at her. The cuts and bruises are healed and some nice pink scars remain.

MIA  
Hey.

Beat.

MIA (cont'd)  
So, second degree burns, straight from the hands of Maddie Marin and Charlie Fields themselves.  
I've been lying to myself all day. Saying that if you were here... I wouldn't have done the things I did.  
But in reality, I realized that you'd be doing those things and not me.  
I am sorry I slept with Tommy. But I'm not sorry for what I did to you.  
I love you, Emma, but what we were doing was wrong and it had to be stopped.

Mia takes a moment to collect herself; she sniffles and wipes away tears.

MIA (cont'd)  
I'm sorry I haven't been here much. I have a lot to be sorry for nowadays actually.  
But I'll start with this one... I'm sorry I left you in a forest all alone, I really shouldn't have.  
If it weren't for me... you may have not been hit by that car. I am so sorry.

Oh good, we thought she was going to say that she was the one who hit Emma with the car.

Mia doesn't say goodbye, she just leaves.

CUT TO:

INT. MARIN HOUSE - NIGHT

Hanna and Maddie have exhausted themselves from arguing. Finally, Hanna waves her hand and puts her fingers to her temples.

HANNA  
Just... go do your homework and go to bed.

Maddie gets up from the table, puts her dishes in the sink and does as she is told. Hanna looks and waits until she hears a door SLAM and then she's on the phone, dialing Emily.

HANNA  
Hey, did Charlie tell you?

INT. FIELDS HOUSE - CONTINUOUS

Emily is still sitting at the table except now a full glass of wine is in front of her. She resists the temptation to SLUG it back. Charlie has also gone upstairs.

EMILY  
She cracked as soon as she got in the door.  
She was kicked off the soccer team today for it as well.

INT. MARIN HOUSE - CONTINUOUS

HANNA  
God, what did we do wrong? We're good parents, right?  
I mean, I only dropped Maddie once and I caught her halfway down.

INT. FIELDS HOUSE - CONTINUOUS

EMILY  
I think we did pretty well for two single moms trying to raise  
their daughters in a horrific and twisted town.  
Then again I had child support from Charlotte's father and trust me,  
he's very generous when it comes to her Birthday.

INT. MARIN HOUSE - CONTINUOUS

HANNA  
Lucky you. Sometimes I wish I had told Maddie's father about her... you know...  
I'm sure he would've made a great Dad. But as you know shit went sideways  
and Maddie's safety is number one. It's just too bad she likes to play with fire.

INT. FIELDS HOUSE - CONTINUOUS

Emily has the TV one while she sips her wine and talks to Hanna. She sees something on the TV and CHOKES on her wine.

EMILY  
Hanna, turn your TV to channel four.

INT. MARIN HOUSE - CONTINUOUS

Hanna does as she is told and it's another news channel, this time, it's a scene of a CAR CHASE going down the highway. CALEB RIVERS (37) has his picture in the top right hand corner.

HANNA  
Oh my god.

INT. FIELDS HOUSE - CONTINUOUS

EMILY  
Shit is definitely going sideways.

INT. MARIN HOSUE - CONTINUOUS

HANNA  
Em, I'll call you back.

Hanna hangs up the phone and continues to watch the TV and the car chase unfold.

REPORTER  
An ongoing police chase in Philadelphia today has caused quite the disturbance of peace in the city.  
Thirty seven year old Caleb Rivers robbed a bank heavily armed. No civilians were injured but  
Rivers was shot in the leg on the way out. Police are following what appears to be  
his getaway vehicle in hopes of putting this criminal behind bars. I'm Lauren Cope, Philadelphia news.

Hanna turns off the TV, rubbing her temples again.

HANNA  
Holy fucking shit.

CUT TO:

INT. ALI'S SHOP - NIGHT

Alison sits at her table, drinking a cup of tea. Opposite her is Charlie Fields, and she too, sits with a cup of tea. Charlie's face is red and her eyes are puffy from crying.

ALISON  
Does your Mom know you're here?

CHARLIE  
No, I snuck out my bedroom window.  
She's probably halfway to boozeville anyway.

ALISON  
So Charlie what brings you to my neck of the woods?  
Do you need help with English homework, Biology, Math?

CHARLIE  
I need some advice.

Alison's face lights up when she hears this.

ALISON  
And what is this advice on? Love? Friendship?  
Aunt Ali is here for you, whatever you need.

CHARLIE  
Actually... Maddie and I got suspended from school today. Long story short there was a  
small fire in a small locker and Mia got second degree burns on her hands.  
Mia slept with my boyfriend, well, I guess he's ex boyfriend now.

ALISON  
I'm disappointed in you Charlie, usually you confront me on what you're going to set on fire.  
Now I'm worried that next time it'll be your heart. Trust me, it's one of the most painful feelings in the world.

CHARLIE  
What are you saying?

ALISON  
I'm saying that if you can't learn to control yourself you're going to get hurt and I'm talking worse than second degree burns.  
Trust me, I've been in hiding for twenty years, I know what it feels like.

CHARLIE  
Is the witness protection program really that bad?

Alison chuckles at what her four friends had told their kids about their past. Alison plays along with the lie:

ALISON  
I really hope you don't have to experience it.

Beat.

ALISON (cont'd)  
Time for you to go, I don't want your Mom worrying.  
She's had enough stress for one night.

Alison walks Charlie to the door and to say goodbye.

ALISON  
Try not to light anything on fire on the way home, okay?

CHARLIE  
Before I forget, I got this weird text today.  
I didn't want to show it to my Mom incase she got freaked out.

Alison's face goes hard and she looks as if she's about to hurl. She pracitcally SNATCHES the phone from Charlie's hands.

CLOSE UP ON TEXT: **"Ever think that while you're looking over your shoulder, watching all your bridges burn down that I could be standing in front of you? -A"**

ALISON  
I'll walk you home.

CHARLIE  
But Aunt Ali, you never leave the shop after dark.

ALISON  
I'm taking my own advice and trying to not set my heart on fire by watching  
you walk out that door with a target on your back. I'm walking you home.

Alison looks back at her apartment, at all the boxes and personal touches she has made over the years. She shuts the door. Clearly, she is not coming back.

END OF ACT ONE.


	2. Episode 1 Act Two

ACT TWO

INT. EMMA'S HOSPITAL ROOM - NIGHT

EZRA FITZ (44) walks into Emma's hospital room with his teaching bag slung over his shoulder. Papers upon paper pile up underneath the zipper, some already falling out the side. His hair is a frizzy mess and the black bags underneath his eyes suggest he has gotten little or no sleep. He looks worse than Aria and coming from a full days worth of teaching all of her friends hadn't helped.

EZRA  
Hey, Emma.

He kisses her forehead gently then pulls up a chair. He gently takes her hand and holds it. He looks at all the TUBES hooked up to his eldest daughter.

EZRA (cont'd)  
How's it going today?

Of course, there is no response from Emma.

EZRA  
Today marks six months of you being here.

Beat; he's swallowing back tears.

EZRA (cont'd)  
I'm not going to lie, everyday is harder than the day before. Your mother has been cleaning  
excessively and as good as that sounds I wish she would stop. Your friends miss you;  
Tyson, Jai, Mia... even your sister. God, Max has been moody lately.  
Just yesterday she made your mother cry again. It made me think how if you were home,  
you would have smacked her and told her to get a grip and I would have  
grounded you for at least three days.

Ezra's face becomes hard and tears spring out of his eyes and down his cheeks. His face is bright red and his bottom lip is quivering. He can barely make out his next words:

EZRA (cont'd)  
Your Mom... Emma I know you can hear me and please know that I  
don't want to say this but if I were in your position I would want to know the truth.

Ezra takes a deep breath, readying himself.

EZRA (cont'd)  
Your Mom wants to pull the plug, take you off life support.  
But I can't let her do that... you know I wouldn't.  
I believe in you Emma and I know you can pull through this.

A SOFT KNOCK sounds at the door. He doesn't bother looking up.

EZRA  
Come in.

Aria enters the room clinging tightly to some white papers and a stylish brown leather purse. She looks from Emma, to Ezra and then down at her shoes. She's nervous as well and from the look on her face we can tell she doesn't want to be there yet she does. She's uncomfortable looking at her daughter's body lying lifeless.

ARIA  
I got the papers.

EZRA  
I can't let you...

ARIA  
I don't want to either, Ezra, I don't even want to admit that she's gone.

EZRA  
But she's not gone, she's right here in front of us.

ARIA  
Ezra you've heard what the doctors have said. She's been in a coma  
for six months; there is very little chance that she will ever wake up.

EZRA  
There are people who have stayed in comas for over a year and  
they've eventually woken up. I believe in her, she'll wake up.

Beat.

Aria sits down next to Ezra, looking like she wants to cry but she can't cry anymore.

ARIA  
I love her, Ezra. But we have to think of what's best for her. She's trapped and she can't get out.  
She might have a slim chance of waking up but even then she may never be the same.  
The medical bills are piling up in our mail box as we speak.  
If we're going to keep her on life support  
we have to find a way to get the money. If we can't... we don't have a choice.

Beat.

Ezra takes this all in.

EZRA  
I never knew that we wouldn't be able to  
afford keeping our daughter alive.

ARIA  
Don't say that, we don't know anything yet.

Ezra puts his face in his hands; he doesn't know what to say anymore.

CUT TO:

EXT. PARK - NIGHT

Underneath the full moon (like the one in the teaser when Emma was hit by the car) Maddie and Max stand dressed in all black with tight jeans and gloves on, dressed for the chilly January weather.

MAX  
Where is she? She's never late.

Maddie checks her phone, just to make sure they got the message right.

CLOSE UP ON MESSAGE: **"Meet me at the park at midnight. Tell no one and bring no one. -Alison"**

MADDIE  
Why here and why so late?

MAX  
If my Mom catches me out here at this time of night I'm going to get my ass kicked.

Alison emerges from the treeline with Charlie towing along behind her. She looks around; someone is missing. Just then Mia runs out from the bushes, out of breath and her arms crossed, trying to hide her bandages. She STOPS and makes EYE CONTACT with Charlie. Charlie LUNGES at Mia, but not before Alison can grab the BACK of Charlie's shirt and pull her back.

ALISON  
(to Charlie)  
For this one moment, can you try not to kill her?

Charlie nods, still not taking her eyes off Mia as she joins the circle. She stands FARTHER away from Maddie and Max.

ALISON  
It's time you all learned the truth. The truth about what happened  
to me and your mothers twenty four years ago.

MIA  
About how you and Mom, Emily, Aria, and Hanna witnessed a murder?  
And in the end the killer came after all of you?

Alison SMILES at Mia's innocence; or, at least what she has left of it. She looks around the group, at all of their serine faces.

ALISON  
I'm not, in the witness protection program, but there was a murder that  
me nor your mothers witnessed. There was an attempted murder though,  
an attempt so threatening it made me drop everything and leave.

The girls are clearly CONFUSED.

MAX  
Aunt Ali... did someone try to murder you?

ALISON  
Yes, Maxine, they did. My own mother buried me alive after she found me bleeding on her  
perfectly cut grass. This person was never caught nor do any of us know who it is.  
Another part of the past is a person that goes by the name of "A".

Charlie, Maddie, and Mia begin to look uncomfortable.

CHARLIE  
Today I received a threatening text message from "A". Aunt Ali told me that this person  
plays a big role in our parents' lives and we shouldn't treat this as a joke.

MIA  
Just like that locker stunt of yours was a joke today?

Mia holds up BOTH of her arms and Alison gives her a glare as if to say 'don't encourage it'.

MADDIE  
You don't sleep with your friends boyfriends. It's just not right.

MIA  
You're one to talk, Maddie. Need I remind you of Tyson Lake?

MAX  
What happened with Tyson Lake?

Maddie's face goes bright red and she looks down at her shoes.

ALISON  
Girls, can we please stop bitching and get on with life!  
Now, I'm convinced A has something to do with Emma's accident.  
Has anybody else besides Charlie been receiving these threats?

MADDIE  
I got this from A today. I thought it was a wrong number.

Maddie hands the phone over to Alison. Charlie reads over her shoulder.

CLOSE UP ON MESSAGE: **"195 Penbrake Road. -A"**

CHARLIE  
Where's 195 Penbrake road? And what's there?

ALISON  
Maddie, don't go there. "A" works in sneaky ways and mostly  
always you will end up getting hurt. Resist the temptation.

CHARLIE  
(to Mia)  
Yeah Mia, resist the temptation.

Maddie begins to LAUGH at this but once Alison shoots her a DEATH GLARE she shuts right up. Alison looks to Mia, as if she knows she has gotten a message from A as well.

ALISON  
Mia, you may be pretty but you're not a liar, cough it up.

MIA  
I'm not lying, I haven't gotten anything from "A". If I had I would tell you.

Alison turns away, giving up on convincing her.

ALISON  
I'll tell you guys everything you need to know about "A" and how you can be  
prepared for the threats and attacks. It all began the summer I turned sixteen.  
It was a hot night but the ground soon became drenched with the rain and my blood...

The girls are CAPTIVATED, listening like girl guides around a campfire.

CUT TO:

EXT. ESTABLISHING SHOT - MARIN HOUSE - MORNING

INT. MARIN HOUSE - MORNING

Maddie walks down the stairs dressed in a casual weekend winter wear; jeans a jacket and a scarf. Hanna sits at the kitchen table, eating her breakfast. She looks distant, she's thinking about something.

MADDIE  
Morning.

She reaches into the fridge and grabs an apple and starts to take a bite just as:

HANNA  
Maddie do you remember when you asked me about your father?

Maddie puts the apple down on the counter, walking over to where Hanna is. She stands above her, her arms folded.

MADDIE  
Which time?

Hanna ROLLS her eyes.

HANNA  
I know you don't think I'm doing the right thing by not telling you the truth.  
But, it's for your best interest and safety.

MADDIE  
If you're not going to tell me anything more about him why did you bring it up?  
When you're done keeping secrets, let me know.  
I'll be over at Charlie's starting on our suspension homework.

HANNA  
Be careful, Maddie. If something goes wrong or if  
something happens, let me know, okay?

Maddie grabs the apple from the counter and storms out. Why had Hanna brought that up and told her to be careful, what the hell? We PAN UP to see the television on PAUSE, Hanna staring at what's on the screen.

CLOSE UP ON SCREEN: A picture of Caleb driving a car is seen on the television screen, and underneath the caption: "Man who robbed bank spotted in Rosewood, call local police if seen."

CUT TO:

INT. CHARLIE'S CAR - DAY

Maddie hops into Charlie's car, looking behind her to make sure nobody saw her.

CHARLIE  
So where to?

Maddie hands her a a Google Maps picture of a rotten home with instruction on how to get there underneath.

MADDIE  
195 Penbrake Road.

Charlie looks at her and SMILES; these two accomplices find it fun to break the rules of the game.

CUT TO:

INT. CAVANAUGH HOUSE - DAY

Spencer walks in from the front door, going through the mail in her hand.

SPENCER  
Bill, bill, bill, advertisement...

HUNTER CAVANAUGH (18), short hair, muscular build, obviously an athlete, comes RUNNING down the stairs, he HALTS in front of Spencer, looking frantic.

HUNTER  
Have my University acceptances come yet?

SPENCER  
Nope, just a whole lot of junk. Besides, you just put your applications in last week.  
You have to wait at least three weeks or a month.

HUNTER  
I just want to get out of here.

Mia comes down the stairs, still in her pajamas. She has ripped off the bandages that the doctor gave her and now she's exposed, pink and red burns peeling and oozing out pus.

MIA  
Mom... do you have any cream or  
something that will take this pain away?

Spencer and Mia look in the cabinet for something. Hunter peers over at Mia's burns and stares at them.

HUNTER  
Wow, Maddie and Charlie sure got you good.

MIA  
Hunter, shut up!

TOBY CAVANAUGH (38) walks in the front door dressed in his work clothes, his shirt torn and sweat pouring down his face. Spencer turns to him and looks him up and down; he looks sexy.

MIA  
Ew, what's that smell?

TOBY  
That would be the neighbor's sewage pipe bursting. I was trying to  
help her fix it but she insisted on calling a Plummer.

HUNTER  
The new neighbors that just moved in next door?

MIA  
Duh, Hunter. They're our only neighbors.

TOBY  
Hunter can you go help Mia with her burns in the bathroom?  
Looks like she's having trouble.

Mia goes to the bathroom, Hunter following behind her. Spencer turns to Toby and smiles seductively.

SPENCER  
I never knew sweat could make you look so good.

Spencer moves in closer to him, her hands playing with the rips in his shirt.

TOBY  
Spencer, I know you don't want to hear this  
right now but our new neighbor is Mona Vanderwall.

Spencer pauses, looks up into Toby's eyes and begins to LAUGH. She pulls away from him and turns back to the mail on the counter.

SPENCER  
Mona's been dead for five years. We went to her funeral.  
How could she possibly be our neighbor?

TOBY  
I'm telling you, Mona is right out there,  
bitching at the Plummer about her sewage!

Spencer doesn't believe Toby. She walks over to the front window and PEERS out the blinds; she can't believe what she sees. MONA VANDERWALL (37) is standing on her front lawn talking wildly on her cellphone, trudging along her sewage filled lawn. Spencer GASPS and DROPS the mail.

SPENCER  
Son of a bitch.

She bends down to PICK UP the mail when sees the unmistakable RED LETTERING of "A's" handy work.

CLOSE UP ON LETTER: **"Do you like my present, Spencer? Happy Birthday. -A"**

Toby comes in behind, wraps his arms around her waist and kisses her on the cheek.

TOBY  
Oh, and Happy Birthday babe.

On Spencer looking out at Mona we:

CUT TO BLACK:

END OF ACT TWO.

* * *

**_So this one was a bit shorter than the last one. I hope you all are liking this so far! Which character(s) do you like or want to see more of? Thanks for reading!_**


	3. Episode 1 Act Three

ACT THREE

EXT. PENBRAKE ROAD - DAY

Charlie's car pulls up to the curb and the engine turns off.

INT. CHARLIE'S CAR - CONTINUOUS

Charlie and Maddie stare out at the broken down house with the overgrown grass.

CHARLIE  
So, what should we do? Maddie looks at Charlie as if she's stupid.

MADDIE  
We go in of course!

CHARLIE  
Are you crazy? Who knows what's in that house!  
I'm all for fun and games Maddie, but this is nuts.

MADDIE  
Charlie, this isn't the craziest thing we have done.  
Do you remember the time when we went to lake...

CHARLIE  
I don't even want to relive that moment. I'll walk you to the front door,  
and then you can go inside. I'm not stepping foot in that rotting house.  
Who knows what type of bugs are underneath the floorboards.

EXT. PENBRAKE ROAD - CONTINUOUS

Maddie and Charlie get out of the car and walk across the dry lawn to the front door. It's cracked open.

CHARLIE  
No. There is no way in hell I am going in.

MADDIE  
Oh would you please relax? It's an old door,  
I'm sure it just doesn't close properly.

Maddie PUSHES open the door. It swings open easily. Inside we see that the house is empty, no furiniure. A big staircase looms before them and it is clear that this may have been a pretty house back in its day. Maddie smiles; she thinks this is cool. Maddie advances further into the house with Charlie creeping slowly behind her, jumping at every squeak.

CHARLIE  
Maddie... I think we should go. I have a bad feeling.  
Maybe Aunt Alison was right.

Maddie turns around SHARPLY; she's had enough of Charlie's complaining.

MADDIE  
And what exactly did she say? She told us not to go to Penbrake road,  
she never said to walk into the house on Penbrake road. So why do you have a bad feeling?  
There is nothing for Aunt Alison to be right about.

As Maddie turns around, she BUMPS into a person. She looks up into CALEB RIVERS' eyes and GULPS; she's in deep shit.

CUT TO:

ESTABLISHING SHOT - HASTING HOUSE

INT. MASTER BEDROOM - DAY

Spencer sits BENEATH the window sill, her cellphone pressed tightly against her ear. Her blinds are open above her, she leans up and PEERS out, the top of her head can be seen from outside. She's looking at Mona, yelling at the PLUMMER who is now standing with her.

ARIA (O.S.)  
Hello?

SPENCER  
Kay, you remember that Mona died right?

ARIA (O.S.)  
Uh, yeah? Spence, she died five years ago in  
a car accident. Do you remember?

SPENCER  
I'm staring at her. I'm hiding in the bedroom staring at her from outside my window.  
She's arguing with the Plummer about her sewage pipe bursting.  
That seems like a Mona thing, right? I mean, that's as Mona as you get, right?

ARIA (O.S.)  
Spencer, relax. It's probably just a look alike.  
Do you want me to come over?

SPENCER  
No, no. I got it. I'll send you a picture.

Spencer hangs up with Aria. She leans her phone against the window to take a picture. She successfully takes it. When she looks back it at, she realizes that Mona was looking directly at the camera, a sly smile on her face. Spencer drops the phone as if it were burning her hand. She makes a strange noise, as if she really was holding a burning pot:

SPENCER  
Aghhh.

CUT TO:

INT. PENBRAKE ROAD HOUSE - DAY

We pick up where we last left off- Maddie staring up at Caleb's face. A weird look passes through Caleb, as if he recognizes her. Maddie suddenly realizes what she is doing and JUMPS back to Charlie, the two cower in silence.

CALEB  
Who the hell are you and how did you find me?

CHARLIE (to Maddie)  
I told you we should have left.

CALEB  
You should have. This is not  
a place for fifteen year olds to be.

MADDIE  
We're eighteen actually. Well, I am.  
My Birthday was a couple of weeks ago.  
Charlie is still seventeen for a few months.

Caleb doesn't know what to say to that.

JOHNNY (O.S.)  
Rivers, who are you talking to? The pickup boy?

CALEB  
I don't think they're exactly boys...

Johnny (40, slimy) walks out of the room drying a KNIFE with a tea towel.

JOHNNY  
Sorry, my bad. Are you girls  
here to pickup the cash?

Both girls stand there for a moment, stunned.

CHARLIE  
Ummm...

MADDIE  
Yup! We're the pickup girls.  
Where's the cash?

JOHNNY  
Follow me.

The girls brush past Caleb and follow Johnny into the run down kitchen. A duffle bag full of cash sits on the counter.

MADDIE  
Oh my god.

CHARLIE  
I could buy a new car with this.

MADDIE  
I could help my Mom pay the bills with this.

JOHNNY  
No one is buying anything with this money. Just take it back to the boss,  
and go back to whatever the hell you do. It's that simple.

Maddie zips up the duffle bag and slings it over her shoulder. It weighs her down, but she recovers.

JOHNNY  
Remember, take it straight to the boss, you hear?

MADDIE  
Yes sir.

JOHNNY  
Man, the boss just keeps recruiting them younger and younger.  
Next thing you know we're going to have toddlers driving our delivery trucks.

Maddie and Charlie begin to walk out the door slowly and cautiously. Johnny follows behind, seeing them out. He opens the door and SLAMS it once he sees Charlie's car parked outside.

JOHNNY  
That's not our regular delivery truck.

MADDIE  
Truck's in the shop, it broke down on the way here.

JOHNNY  
So what did you do? Borrow your Mom's  
car for the job?

Both girls are silent.

CALEB  
Johnny, leave them alone. They're just kids.

JOHNNY  
Kids who were about to take our money.

In one swift motion Johnny cuts the strap of the bag with his knife; it falls to the ground. Charlie SCREAMS.

JOHNNY  
How'd you two find us? Are you working for the cops?  
A newspaper? Huh? Who are you!

Both girls fail to answer. They're TERRIFIED. Maddie no longer wants to play along with the stupid game.

JOHNNY (to Charlie)  
You.

Johnny throws Charlie up against the wall, his knife underneath her throat.

MADDIE  
Let her go! Let her go!

Maddie lunges at Johnny but Caleb stops her, holding her back.

JOHNNY (to Charlie)  
What's your name, girl?

CHARLIE  
Charlotte... Charlotte Fields.

Caleb LOOKS at Charlie, his eyes wide.

JOHNNY  
Well Charlotte, who's your friend?

Johnny lets go of Charlie and grabs Maddie by her shirt, pushing Caleb out of the way and pinning the knife to her throat.

JOHNNY  
What's your name, blondie?

MADDIE  
Maddie.

JOHNNY  
That's it?

MADDIE  
That's all you need to know.

JOHNNY  
I like this one. Cut the other one loose, Rivers.  
But don't get the carpet dirty, do it in the back.

Caleb grabs Charlie and drags her out into the backyard. Charlie KICKS and SCREAMS.

EXT. BACKYARD PENBRAKE ROAD - CONTINUOUS

Caleb and Charlie are now in the backyard, he lets Charlie go.

CHARLIE  
Please, please don't kill me. I may have problems  
but I love my life. Please, please don't!

CALEB  
I'm not going to kill you, that's not who I am.  
Look, you said your last name was Fields. Are you related to Emily Fields?

CHARLIE  
How the hell do you know my mother? Is this some sort of joke?

Caleb KICKS the trunk of a nearby tree. Then grabs his leg; he's been shot, just like the reporter said. A bandage is wrapped around his leg, but he's still bleeding.

CALEB  
Shit. Johnny wants to take Maddie with us. He wants me to kill you.  
But what you're going to do, is your going to scream, really really loud.  
This neighborhood is abandoned so nobody can hear you.  
We'll be leaving this house a few minutes after I...

Caleb makes quotations with his fingers.

CALEB (CONT'D)  
Kill you. After we leave you run, run back to Emily and tell her what happened.  
Tell her I'm sorry and please contact Maddie's family,  
I'm sure her parents are worried sick. I promise we'll keep Maddie safe.

CHARLIE  
I can't just leave her she's my best friend. She'll think I'm dead and it'll break her.  
Trust me she's not nice to be around when she's miserable.

CALEB  
I'll make sure she stays safe. I'll notify her when I can that you're alive.  
Right now, run and tell Emily that Caleb Rivers isn't guilty of anything.

CHARLIE  
Why do you keep saying run, I drove here?

Caleb grabs Charlie's wrist and turns her around. A bit of blood drips from his bandage onto Charlie's shirt. He reaches down into her back pockets, which makes her SCREAM. He takes out the keys, shoves her to the ground, takes out a gun and shoots it towards the sky. The deed is done.

CALEB  
Run.

Charlie does as she is told, and takes off into the bushes, hiding herself for when the time is ready. Caleb goes back into the house.

CUT TO:

INT. CAVANAUGH HOUSE- MASTER BEDROOM - DAY

Spencer is still peering out of her window. Mona is on the other side of the street picking up leaves and other things that were damaged by her sewage break. ENTER Aria, Emily, and Hanna.

ARIA  
Spencer, what are you doing?

Spencer grabs Aria by the hand and pulls her down. Emily and Hanna follow her lead. The four girls peer from underneath the windowsill, looking at Mona.

HANNA  
Holy shit.

ARIA  
You weren't kidding.

SPENCER  
Thank you for believing me finally.

Between the four of them, Emily is the most affected by this news.

EMILY  
This is impossible. I was in the car with her...  
A piece of glass was lodged in her throat and I swear she stopped breathing.

HANNA  
Maybe she pulled an Ali.

EMILY  
And how exactly did she do that when I watched the blood pour  
out of her and the paramedic on site pronounce her dead?

HANNA  
I'm just saying... she's alive. So something happened  
in between the car crash and now.

ARIA  
Thank you for that observation Hanna.

SPENCER  
I know Mona is known for getting her hands dirty  
but I've never seen her literally do it.

Hanna peers up through the window sill and to her surprise Mona looks up at they make EYE CONTACT. Mona looks genuinely hurt at Hanna's face. Hanna ducks back down quickly.

HANNA  
I think she saw me.

EMILY and ARIA  
Hanna!

SPENCER  
It's okay guys she's seen me once already.

EMILY  
So why are we still sitting here?

Emily moves away from the window and stands up. Her phone vibrates, she checks it. It's a picture of Charlie running in the forest, Caleb's blood on her shirt.

TEXT MESSAGE  
_**"Do you still think your little girl is studying? Think again. - A."**_

EMILY  
Hanna, is Charlie over at your house?

HANNA  
No... Maddie said that she was going over to your house.

Emily is panicking now, she throws Hanna the phone.

EMILY  
I don't think they are.

On Hanna's look of panic we:

CUT TO BLACK:

END OF ACT THREE.

* * *

**_Sorry that took me so long to update! I might be MIA for about a week since I'm getting surgery in a few days. Hope you all enjoy, review please! _**


End file.
